As I’ve explained in my review of Love’s Labour’s Lost (RSC 2014), this production was presented as Love’s Labour’s Won by the Royal Shakespeare Company. This was a controversial decision that confused audiences and led to heated debate among scholars, since Love’s Labour’s Won is either the title of a lost Shakespeare play or an alternative title for an existing play. Which one? Who knows! An episode of Doctor Who was dedicated to it, that’s the level of mystery we’re talking here. Still, I can see why one would want to stage these plays as a duology: they are variations on similar themes. Both Love’s Labour’s Lost and Much Ado About Nothing have a distinct male and female group, men asked to prove their love, strong female characters who are more demanding than forgiving, clear class differences, and a whole lot of banter. Some critics have even argued that Berowne and Rosaline were a kind of try-out for Beatrice and Benedick.
The setting is the same (Charlecote Park, post-WWI this time) and most of the cast members return, but this production fails exactly where Love’s Labour’s Lost so gloriously succeeded: using the setting to enhance the themes of the story.